Daphne Paula S.

Tadena
Gr. 10 – St. Ignatius of Loyola

Lesson 1 and 2: PHILIPPINE THEATER

ACTIVITY 1: LET’S RECALL!
1. Sarsuwela
2. The Tinikling Dance
3. Singkil
4. Senakulo or Passion Play.
5. moro-moro
6. Duplo
7. Balagtasan
8. Epic Poetry
9. Biag ni Lam-ang
10. Bodabil
ACTIVITY 2: VIDEO ANALYSIS
Name of the Theater Idea or Theme
Tanghalang Ateneo’s Lysistrata ng Bakwit. It draws inspiration from the current issues in the
city of Marawi, revealing the distressing situations of
the evacuees as families are being forced away from
their homes due to the recurring territorial clan
wars. It follows the revolt of women bakwit or
evacuees as they take a stand in the ‘men’s world’–
ensuing wars concerning ancestral land, familial ties,
and tribal disputes. Lysistrata urges the women of
the bakwit from two rival tribes to get together in a
resolution to withhold intercourse from their
partners in protest to the war time-peace time cycle
that they face almost every year.

UP Theatre’s Father and Son
The father – who wants the best for his family and
hopes to live up to his responsibility to them but is
perhaps afraid of the competition his son poses as a
representative of the next generation of men. His
son can symbolize a threat to his livelihood, can be a
mirror forcing him to face his own mortality. The son
– who is urged on hopefully by his father’s example,
but also possibly by a fear of not measuring up to his
idea of his father, or to his father’s idea of him. This
is the kind of multilayer tension on which great
dramas are built.
 Dulaang UP’s Ang nawalang kapatid “Enriching the basic, like so many flourishes in an
Indian bas-relief,” the librettist points out, “are
stories of gods and men, seductions and betrayals,
mysterious transformations, mythic animals, divine
weapons and political machinations.” Ang Nawalang
Kapatid" was a musical adaptation of the great
Indian epic, The Mahabhrata by Floy Quintos, with
original music by Ceejay Javier, directed and
choreographed by Dexter Martinez Santos.The
musical featured an all- student cast essaying the
roles of mythic and archetypal characters, all
executing the breathtaking choreography led by
Santos and his team. It was the highlight of Dulaang
UP's 38th Theatre Season when it opened in
February of 2014. The show was met with
outstanding reviews and audience reactions that it
revived in June of the same year as the opener of
the 39th Theatre Season.

Dulaang UP’s Bagong Cristo The theme of this 42nd Theater Season of Dulaang
UP is "Honoring Defiance." With this 1907 play by
the controversial writer Aurelio Tolentino, things
simply do not get any more defiant. We just learned
from the recent play by Tanghalang Pilipino how
defiant Tolentino could be, hence his rather
unflattering nickname "Aurelio Sedisyoso"given
American authorities of his time. Dulaang UP chose a
Tolentino play also to celebrate the 150th birth
anniversary this year of this steadfastly patriotic
man.

1.Explain how an idea or theme is communicated through the integration of musical sounds,
songs, dialogue, and dance.
- The themes and insights of the musical play/theatre associated with cultural backgrounds, traditions, and
practices are shown and expressed through the art flow of music like singing the highlighted songs that depict
the history or main idea of the show. The dialogues are widely expressed with tangible feelings and emotions
the character of a person portrays to the audience. The dance expresses the genuinely graceful outcome of
the show which gives extra life and entertainment to the viewer’s eyes. All of these come together as the most
important element of the musical theater or play must convey. Most of the ideas shown in the play are
convention’s definition of intangible cultural heritage which shows the issues and happening around our
country that affects many lives of the Filipinos.
ACTIVITY 3: HOW CAN I?
Analyze and explain how can each role of the different stage creative groups produce a
unified idea to communicate the meaning and essence of a stage play.
Guide Questions:
1. How can each role of theater production contribute in communicating the meaning and essence of
stage play to the people or audience?
2. How can each role of theater production produce a unified idea for a theater or stage play?

Role Your idea

He or she is a professional in the theatre field who oversees and orchestrates
the mounting of a theatre production such as a play, opera, dance-drama,
and musical theatre performance. by unifying various endeavors and aspects
Director of production. Theatre directors set their artistic vision for a play, including
selecting the cast, collaborating with designers, blocking the play's
movements, leading rehearsals, and monitoring the production's pacing.
Also known as writers, dramatists, or script
writers, write the story for theatrical productions. The story or script is
Playwright written in a special format. The playwright writes the words that the
characters speak next to or under each character's name.
The duties of the AD are quite flexible and will vary from production to
Associate production and Director to Director. The AD's responsibilities may include
Director facilitating the rehearsal process, taking notes, and facilitating the smooth
running of the entire production process, and/or other duties as assigned.
He or she creates dance routines that work with the music and
lyrics of a production or performance, reads through a script and interprets
each song, creating dance sequences to match the song and interpret a story
Choreographer through dance. He or she also attends rehearsals of Dancers and cast
members and ensures everyone has a clear understanding of the routine
and ensure everyone is at the same level, and that the routine looks good to
an audience and everyone is in time with each other and the music
They have a background
in fashion design or the arts. Theatrical costume designers research
historical periods to choose the appropriate fabrics and styles for a play.
Costume They draw rough sketches to present to the director and design team. Once
Designer the costumes are approved, the designer will develop a "costume plot,"
which is a list or chart outlining the costume each character wears in each
scene. They then produce full-color drawings of the style, silhouette and
accessories before hiring costume makers to produce their designs.
He or she reads through the script and work with the Director to create a
concept for the production, communicates ideas to costume, make- up,
Set Designer props and lighting departments, has a creative vision and able to create sets
from small scale to large scale, creates effective designs within the available
budget
 They work with the creative team to come up with ideas, designs the lighting
Lighting
needed for the performance, writes a lighting plot/script to note where
Designer there are any lighting changes, and is aware of budget and energy use.
He or she attends creative team meetings with the Director and
choreographer to develop the overall vision of the show, studies the script
and music, participates in auditions, evaluate the vocal abilities of all
auditionees and offer suggestions on which individual might be best suited to
Musical Director each role based on vocal performance, teaches music to the cast and
musicians, leads regular warm-ups with the cast and musicians before
shows, and serves as the conductor during live performances, directing the
orchestra.

ACTIVITY 4: I’M A SET DESIGNER!

Assume that you are a member of the production staff, as a set designer, and your group
is producing a play “MANANG BIDAY”. Paint or draw your scenery to serve as the background of the play.
Explain your materials, colors and motifs.

Materials: A bundle of hays= for the bahay-kubo, half bamboo stems, plants, paints for
backdrop drawings and outlines, handy stairs, chopped woods for the bahay-kubo’s riser, light
source, and light stand
Colors: All color schemes especially the shade of colors green, brown, orange, tones of pink
and red, blue, yellow, and grey.
Motifs: The textile weaving of our country, romanticism genre that highlights the courtship
dance of the Ilocanos, Filipino traditions, and cultures. Dialect: Ilocano, time signature: ¾,
tempo: Allegro, and mood/theme: courtship that will also be applicable to the character’s
costumes.